CANADA COUNTRY REPORT
CANADA COUNTRY REPORT
COUNTRY REPORT WRITTEN BY: Rod Fisher
EDITED BY: Yudhishthir Raj Isar
GRAPHICS & LAY OUT BY: Guillemette Madinier and Sarah Sajn
DATE OF PUBLICATION: 28 April 2014
The content of this report does not reflect the official opinion of the European Union.
Responsibility for the information and views expressed therein lies entirely with the author(s).
© 2013-2014 Preparatory Action ‘Culture in the EU's External Relations’
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TABLE OF CONTENTS
TABLE OF CONTENTS ....................................................................................................................... 2
EXECUTIVE SUMMARY ..................................................................................................................... 3
OVERVIEW ...................................................................................................................................... 4
EXTERNAL CULTURAL RELATIONS IN THE POLICY CONTEXT ............................................................... 6
Federal government and related agencies .................................................................................... 6
Québec: a special case................................................................................................................. 11
The cultural sector and its concerns............................................................................................ 14
CULTURAL RELATIONS WITH THE EU AND ITS MEMBER STATES: REALITIES AND OBSTACLES ........... 18
Cultural interactions and support ............................................................................................... 18
Practical support and possible obstacles to the development of a strategic cultural role for the
EU in Canada ................................................................................................................................ 19
Opportunities for EU-Canada cultural co-operation ................................................................... 19
Potential obstacles ...................................................................................................................... 20
CONCLUSIONS ............................................................................................................................... 21
ANNEXES....................................................................................................................................... 22
Annex I: Methodology and list of people consulted ................................................................... 22
Annex II: EU-Canadian joint programmes and initiatives ............................................................ 24
Annex III: Bibliography and references........................................................................................ 35
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EXECUTIVE SUMMARY
The Canadian Federal Government role in promoting culture in its external relations has been
much diminished since 2008 following the axing of its key programmes: PromArt, which sought to
advance the country’s foreign policy and trade through the international promotion and
development of Canada’s cultural sector, and Trade Routes, which assisted profit and non-profit
organisations to prepare for the export of their cultural products. The effect on the cultural sector
was exacerbated by budget cuts to local cultural posts in embassies, etc. Before 2008, the Federal
Government had a much more robust cultural relations policy, enhanced by its active leadership role
in the cultural policy arena internationally, where it forged alliances with other countries, most
notably in relation to the diversity of cultural expressions (it was a prime actor in the development
and promulgation of the 2005 UNESCO Convention).
Responsibility for international cultural relations is shared between the Federal Government,
provinces and cities. Key Federal Government actors are the Department of Foreign Affairs, Trade
and Development and the Department of Canadian Heritage. However, only the quasi-independent
Canada Council for the Arts appears to regard the cultural sectors as sufficiently important areas of
interest for external relations and has endeavoured to maintain a modest budget to facilitate the
international engagement of Canada’s cultural practitioners. That said, the Federal Government
continues to be the second largest donor (after France) to the International Organisation of la
Francophonie and to Francophone institutions.
The picture at a provincial level is mixed, with only Québec sustaining and increasing its
expenditure on promoting culture in external relations. The reasons for this are obvious: Québec’s
desire to brand itself, its culture and language as distinct from that of the rest of Canada. The
Province has established cultural relations with a number of European regions and has representative
offices in 15 countries, five of which are in the EU. Some of the major cities are also engaged
internationally, most obviously Montréal, but also Vancouver and Toronto among others. Generally,
it is the cultural organisations based in these cities that are pushing the international agenda. As a
result of migration, several Canadian cities have significant numbers of their populace that were born
outside the country, especially Toronto and Vancouver. The international interests of these cities
reflect in part these migration flows, with Vancouver, for example, focused especially on the AsiaPacific region. In addition, there is a significant minority of North American Indians (First Nations
people) in Canada as well as Inuits in the far North. Although the Federal Government’s geographical
interests are fairly broad, Europe remains on its radar, and is regarded by many Canadian cultural
practitioners as an important destination for international engagement. The main obstacle to building
stronger cultural relations with Europe is the lack of funds, hence any EU initiative would need to
provide financial incentives to stimulate cultural projects between the two continents. The EUNIC
Canadian Cluster favours any EU action to focus on what already exists.
In 2013 the EU and Canada reached an accord on a Comprehensive Economy and Trade
Agreement that seeks to eliminate most industrial tariffs. The impact on the creative and cultural
industries remains to be seen.
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OVERVIEW
Canada’s relatively ‘young’ culture is often perceived as the product of British and French
colonisation and conflict for what Voltaire called ‘quelques arpents de neige’.1 It is, of course, much
more than this. In building an identity that differs considerably from its southern neighbour – the USA
– Canada has to reconcile the interests not only of two major language groups but also the so called
‘First Nations’ peoples (more than half a million North American Indians), the Inuit peoples, and an
increasing population diversity as a result of immigration especially from Asia, Central and South
America, the Middle East and Africa (about 50 per cent of the population of its largest city, Toronto,
were born outside of Canada).
Among the other challenges that have faced cultural policy makers over the years are the fact
that Canada’s population of approximately 35 million is spread over a huge land mass (it is the second
largest country in the world) and the reality that it shares its southern border with the USA, which
exercises significant and constant economic and cultural impact. The relationship between the two
countries is sometimes compared to that of Germany with Switzerland.
According to the International Monetary Fund, Canada is the 13th largest economy by GDP in
the world (2012). It is recognised for its international diplomacy and its status as an important middle
power is reinforced through its involvement with, and contribution to, many international
organisations, including the G8, G20, UNESCO, the North Atlantic Free-Trade Association (NAFTA),
Asia-Pacific Economic Cooperation (APEC), la Francophonie (IOF), the Organisation for Economic Cooperation and Development (OECD), the Organisation of American States (OAS), etc. As an associate
member of the Council of Europe, it was also active for some years in cultural co-operation and, in the
1990s and the early part of this millennium, the Department of Canadian Heritage conducted a
number of comparative international surveys on cultural policy issues to feed into policy discussions in
Canada. As a result of its multilateral relations, Canada has also become associated with so called
‘niche diplomacy’ through its deployment of soft power and its role in peace keeping.2
At the end of the 1990s, Canada began to adopt a leadership role in the international cultural
policy arena, building a coalition of interest through, for example, the International Network of
Cultural Policy created in 1998, with other countries keen to develop an international instrument on
cultural diversity to combat threats posed by pressure to include culture in World Trade Organisation
regulations. This coalition actively promoted the adoption of the 2005 UNESCO Convention on the
Protection and Promotion of the Diversity of Cultural Expressions, which Canada was the first to sign.
Canada also facilitated the creation of the International Network on Cultural Diversity (INCD) and the
1
‘A few acres of snow’
2
The term ‘niche diplomacy’ was coined by the Australian politician Gareth Evans, see G. Evans and B. Grant, Australia’s
Foreign Relations in the World of the 1990s, Melbourne: Melbourne University Press, 1991.
An explanation of Canada’s role in niche diplomacy can be found in Alan K. Henrikson, ‘Niche Diplomacy in the World Public
Arena: the Global “Corners” of Canada and Norway’ in Jan Melissen (ed.), The New Public Diplomacy. Soft Power in
International Relations, Basingstoke & New York: Palgrave Macmillan, 2005, pp.66-87.
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International Federation of Arts Councils and Cultural Affairs (IFACCA), which was launched in Ottawa
in December 2000.
Recent years have been difficult for Canadian culture, both domestically and internationally, as
the sector has faced serious budgetary reductions at Federal Government level and in a number of
provinces as well. The most obvious exception to this is Québec, where culture has long been regarded
as a political imperative.
A range of terminology is used when referring to culture in external relations including
international cultural co-operation, cultural exchange, cultural diplomacy, public diplomacy and
cultural relations.
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EXTERNAL CULTURAL RELATIONS IN THE POLICY CONTEXT
Federal government and related agencies
Culture/the arts are considered to be important instruments in Canada’s foreign policy to
promote the country’s diversity and to facilitate international dialogue and international
understanding, but this has not been reflected in the allocation of resources in recent years. Culture
used to be one to the three pillars of foreign policy, but not anymore. All programming support has
gone. The Public Diplomacy Programme, established in 1998 by what was then called Foreign Affairs
Canada, and its budget of some CA $ 10 million (6.7 million euros) was discontinued. Although it had
been conceived as a short-term pilot initiative to help build Canada’s identity and project its image
internationally, reaching out to Canadians in the process, an evaluation in 2005 found that the
programme funding had established a key Canadian diplomatic mission to develop strategy, continuity
and consistent quality in their outreach efforts. The evaluation study illustrated how cultural events
had been used to gain access to decision-makers and raise Canada’s visibility among foreign
audiences.3 Political interest in public diplomacy has since waned, leading former diplomat Daryl
Copeland to lament: ‘The wholesale retreat from public diplomacy is perhaps the most egregious
example of the damage Canada is doing to itself internationally’.4
The Foreign Affairs Ministry’s PromArt Programme sought to advance foreign policy and trade
objectives through international development of Canada’s performing arts, music and sound
recordings, visual arts, literature, film, TV and media arts. Support was provided for such things as
touring, travel, market and business development, participation in mega international events,
Canadian festivals and incoming familiarisation visits. This programme had a budget of CA $ 4.7 million
(2.9 million euros) but was axed in 2008, a time when government cutbacks decimated Federal
Government international measures for culture. As a consequence civil servants involved in such
programmes were reallocated to other duties and a number of cultural attaché posts were eliminated.
Today the Department of Foreign Affairs, Trade & Development (DFATD) – formed as a result
of the amalgamation in 2013 of the Department of Foreign Affairs & International Trade with the
Canadian International Development Agency – has a very small budget to bring in prospective
international buyers for cultural trade purposes and to ensure visibility, e.g. at the Toronto
International Film Festival or the Banff Centre. Some small resources have been allocated to ensure a
National Arts Centre Orchestra tour to China, for example, or to assist the Montréal Symphony
Orchestra tour to Latin America or to Europe, as part of the Department’s Foreign policy objectives,
but this is minor compared to what used to be provided. However, culture is underlined in the
Government’s international education policy (DFATD has a Scholarships, International Education &
Youth Division). A new international education strategy that will seek to position Canada as a
3
Foreign Affairs, Trade & Development Canada, Evaluation of the Public Diplomacy Program of Foreign Affairs Canada, July
2005. Online. Available at: http://www.international.gc.ca/about-a_propos/oig-big/2005/evaluation/diplomacy_programprogramme_diplomatie.aspx?lang=eng.
4
Dary Copeland, ‘Why Diplomacy Matters More Than Ever’, opencanada.org, 14 January 2013. Online. Available at:
http://opencanada.org/features/the-think-tank/essays/why-diplomacy-matters-more-than-ever/.
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destination for studies and research is set to be unveiled in 2014.5 This development, it should be
noted, is occurring just two years after the Government’s Canadian studies programme for foreign
scholars was severely cut by CA $ 5 million (3.7 million euros).6
The level of importance given to culture in external relations in DFATD depends on the area of
responsibility within the Department. For example, from the Foreign Affairs Advocacy perspective it is
not regarded as important, but within the Scholarships, International Education & Youth Division, it is.
These differences are evident in relation to other objectives; for example, the Scholarships,
International Education & Youth Division regards the following as ‘very important’: improving
diplomatic relations with other governments; promoting dialogue and building trust with foreign
publics; promoting a favourable image and branding of the country abroad; and improving Canadian
exports and human relations in general. Rather surprisingly, perhaps, the Foreign Affairs Advocacy
view is that the same objectives are ‘less important’. Both are agreed that promoting higher education
and student exchanges is a very important objective, while promoting national languages is less
important.
However, there are differences of degree in relation to the importance of all the other main
objectives, which raise questions about whether there is a need for more coherence in regard to
DFATD’s approach to culture in external relations. Alternatively, it may simply reflect the lack of
resources that are made available to pursue the objectives. For the Scholarships, International
Education & Youth Division, supporting the cultural sector to expand its international activities,
supporting cultural diversity, fostering people-to-people contacts are all described as ‘important’,
whereas they are considered to be ‘less important’ by Foreign Affairs Advocacy. Differences are even
more pronounced in relation to attracting tourism, strengthening civil society and promoting
intellectual exchange, which are considered ‘important’ by the Scholarships, International Education &
Youth Division, but irrelevant to Foreign Affairs Advocacy. The latter also considers that supporting
diaspora communities, aiding developing countries and contributing to conflict prevention are also
‘irrelevant’ to Canada’s policies on culture in external relations, but the same objectives are simply
acknowledged as ‘less important’ from the Scholarships, International Education & Youth Division
perspective.
There is more consensus when it comes to the level of importance attached to intervention in
different cultural sectors. For both the Advocacy and Scholarships/Education divisions, all the sectors
are ‘irrelevant’ or, at best ‘less important’ to policy. On the other hand, interactive games, fashion and
architecture are important to the trade division of DFATD.
5
Ibid.
6
This programme assisted foreign scholars to visit Canada to conduct research on condition they taught higher academic
courses on Canada on their return to their home country. At the time of the announcement in May 2012, the decision was
criticized as a false economy that would damage Canadian interests.
Mike Blanchfield, ‘Canada axes foreign studies program despite being told of economic spinoffs’, The Globe and Mail, Ottawa,
16 May 2012. Online. Available at: http://www.theglobeandmail.com/news/politics/canada-axes-foreign-studies-programdespite-being-told-of-economic-spinoffs/article4184581.
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Geographical priorities for Foreign Affairs are the USA, China, Brazil, South Africa, the so-called
G8 countries (sometimes the G20) and Latin America. The EU is also considered important. From a
Scholarships/Education perspective, the interests are a little wider: Asia, especially Japan and South
Korea, Africa, the Middle East and Europe.
Responsibility for supporting culture in Canada is shared between the Federal Government and
its agencies, and the provinces, territories and municipalities. The Department of Canadian Heritage
(DCH) has a lead role and, in the area of international work, it has an approach rather than a strategy.
It endeavours to work with and through the portfolio of cultural organisations it supports, with a view
to establishing what they are doing internationally to see if it is possible to combine actions. It provides
some support for international co-productions, treaties and agreements in films and assists Canadian
museums to receive international ‘blockbuster’ exhibitions. It is also active in supporting major sports
events, e.g. the Pan Am Games to be held on Toronto in 2015. The DCH seeks to support diplomatic
relations and trade diplomacy where there is a cultural dimension.
Objectives categorised as ‘very important’ for the DCH are: supporting foreign policy
objectives; improving diplomatic relations with other countries; promoting dialogue and building trust
with foreign publics; supporting the cultural sector to expand its activities internationally; improving
investments and exports in the creative industries (fostering growth in the CCI sector is especially
important for the DCH); increasing cultural exchange; supporting cultural diversity; and fostering
people to people contacts. Objectives that are ‘important’ if not priorities are: attracting tourism;
strengthening civil society; promoting use of national languages; promoting translations; promoting
intellectual exchange and higher education; support for diaspora communities; providing aid to
developing countries and contributing to conflict prevention. Promoting a favourable image and the
branding of Canada is also seen as important, though less so than in the past when DCH was in charge
of co-ordinating the presence of Canada in international world exhibitions and trade fairs (e.g.
Zaragoza 2008, Shanghai 2010). Responsibility for this task has since rested with the International
Bureau of Exhibitions Canada, but this was to lose its mandate at the end of 2013.
Many cultural areas are ‘very important’ to the DCH: intellectual exchange in the humanities;
museums/touring exhibitions; heritage; libraries/archives; performing arts; visual arts; literature and
literary translations; music; film and audio-visual; interactive video games; press and book publishing;
and television and radio. Its role in some of these sectors is relatively small, and this is often resource
related. Some sectors are considered irrelevant: design, fashion, advertising and architecture.
However, there is a strong push for technology developments and support from federal government
tends to be available whenever this is highlighted through culture or education. In the past the
Department had a large international section (around 60 people), but now staffing is around one-third
of that number. This reflects Federal Government financial reductions, for example the CA $ 9 million
(5.6 million euros) DCH Trade Routes programme, a cultural development initiative that assisted profit
and not-profit cultural organisations prepare to export and sell in international markets. The DCH is
estimated to be spending in excess of CA $ 20 million (14.6 million euros) on international related
activity annually, though no breakdown of expenditure is available.
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The Federal Government remains the second largest donor (after France) to the International
Organisation of la Francophonie, and Francophone institutions, spending about CA $ 40 million
(29.2 million euros).
The Canada Council (or Canada Council for the Arts to give its full title) is a Crown Corporation
that supports Canadian arts domestically, but also has an international strategy.7 It supports Canadian
artists touring/travelling abroad to promote or extend their work or to present to new audiences,
mostly in the areas of performing and visual arts, interactive, film, video and new media, though it also
assists writers to travel, and literary translations. Its strategy is to improve the readiness of artists for
market – essentially national market access is used as a platform to support international access. In
this context it is hardly surprising that the Council regards as ‘very important’ supporting the cultural
sector to expand its activities at international level, and improve investments, exports and business
relations in the cultural and creative industries. Also ‘very important’ for the Council is increasing
cultural exchanges and co-operation and fostering people-to-people contacts. Objectives that are less
a priority, but still important are the following: promoting a favourable image of the country;
supporting cultural diversity; promoting translations; promoting intellectual exchange and supporting
diaspora communities. Among areas considered ‘less important’ to the Council are: supporting foreign
policy objectives; building trust with foreign publics; the branding of Canada abroad; attracting
tourism; and promoting higher education. Areas of external relations that fall outside its remit or are
considered irrelevant are: improving diplomatic relations; strengthening civil society; promoting use of
national languages; providing aid to developing countries and contributing to conflict prevention.
Areas of intervention that are most important for the Council are: museums/touring
exhibitions; performing arts; visual arts; literature and literary translations; music; film and audiovisual;
press and book publishing; and architecture. The heritage sector is considered as ‘important’. ‘Less
important’ for the Council are intellectual exchange in the humanities and libraries/archives. Video
games, TV & radio, design, fashion, advertising and sports are all considered to be ‘irrelevant’.
The Council budgets about CA $ 5 million currently (3.6 million euros) per year related to
international support and is hoping to double that sum within a few years. The Council has not
increased its international budget, but at least it has not reduced the overall sum – money for
international work has been found from reallocation in the budget.
The Canada Council has no geographical priorities, though some special relationships have
been established as a result of having artists’ residencies abroad, e.g. in Sydney, and cultural cooperation over several years with South Africa. Canadian practitioners, especially in the performing
arts, tend to want to go to Europe (Germany in particular is a favoured destination), the USA and
Australia. The Council would like to see visual artists engage more with opportunities in Asia in general
and China in particular. It has a four-year project to send curatorial delegations to Asia and has also
begun supporting Canadian performing artists to trade fairs in that region.
7
A Crown Corporation is one established by Act of Parliament to discharge responsibilities in specific fields on behalf of the
government, but with a degree of independence from it. Legally they are ‘owned’ by the UK Monarch, hence the name.
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International Experience Canada promotes exchanges of young people 18-35 and has
agreements with 32 countries – mostly in Europe, but with a few in Asia and South America – to
facilitate this. The cultural dimension of these exchanges is less to do with the arts, than with society
and values. It is administered through the Government Citizenship & Immigration Canada Department
– an association which might seem a little odd at first. However, the basis of the international
programme is a one-year work permit which allows Canadians to hire people from other countries.
Agreements are based on reciprocity, but currently 60,000 foreigners come to Canada under the
programme (representing about one-third of temporary foreign workers in Canada), but only about
18,000 Canadians are going abroad. The imbalance is revealed even more starkly by, for example,
figures that show some 14,000 people come to Canada from France, but only about 3,000 Canadians
go the other way, while around 5,000 Germans are coming to Canada under the scheme, but just a few
hundred make the journey in the other direction (in the latter case this may be related to language
competence). International Experience Canada is self-financed and not government subsidised. It
charges a fee of CA $ 150 (109 euros) to inward visitors, which is used to cover the programme
overheads. Also it does not provide travel assistance for Canadians to go abroad under the scheme,
though it undertakes the groundwork to enable participants to obtain the temporary work permits.
Overall, it is evident that insufficient Canadians take advantage of the opportunities. The nature of the
programme is bilateral, which raises questions about whether it would be possible in the future to
reach agreement with the EU to cover all 28 Member States.
The Canadian Broadcasting Company (CBC) is a Crown Corporation funded by the Federal
Government and is the oldest broadcasting network in the country, providing a range of TV and radio
channels. It operates a web-based international radio service, Radio Canada International, which
broadcasts in five languages. Its partners include Radio Sweden, Radio Prague and NHK World (Japan).
In common with many other public and public-private bodies, it has experienced government
cutbacks.
Telefilm Canada is another Crown corporation responsible to the DCH. Its responsibility is to
foster the cultural and commercial success of Canada’s audio-visual productions internationally and
domestically.
The National Film Board of Canada is a Departmental agency whose origins date from the late
1930s. Its mission is to produce and distribute works (primarily documentaries) that provide discussion
on themes of interest to Canadian audiences and foreign markets. The imposition of cuts in the 2012
Federal Government budget will reduce its budget by some 10 per cent to CA $ 60.3 million
(39.4 million euros at 1st March 2014) by 2015.
The National Arts Centre (NAC), a Crown Corporation, is a bilingual multidisciplinary
performing arts centre and is one of the largest cultural centres in the world. The NAC’s Orchestra
toured China in October 2013 with performances and some 80 associated educational events. Its
French and English theatres are often involved in international co-productions.
The 10 provinces and municipalities can engage internationally. Some (e.g. Toronto) enter into
agreements with equivalent foreign jurisdictions and such engagement can include a cultural
component. Such agreements (non-binding memoranda of understanding or letters of intent) are
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reviewed by officials in DFATD to ensure that they do not impinge on areas of federal competence or
contain language that is binding. The Province of Ontario, for example, has broad based co-operation
agreements that include a cultural dimension with the Land of Baden-Wuerttemberg in Germany and
with Jiangsu in China. It also has an agreement with the Former Yugoslav Republic of Macedonia that
focuses on tourism and culture. New Brunswick has an established cultural exchange programme with
the State of Maine in the USA.
A study of five of Canada’s major cities published in 2012 indicated that Montréal invested
most in culture per capita, with Vancouver second and Calgary (the fastest growing city in terms of
population) third.8 Montréal’s international relations are spearheaded by cultural organisations and
the university sector. Montréal has increased its budget for culture considerably in recent years.
Despite this and the city’s international profile, some interviewees suggest it lacks a real international
strategy. Instead it capitalises on the international links developed by cultural organisations in the city,
e.g. it provided support for a number of cultural companies to go to Barcelona.
Although it is the seat of a number of Canada’s major cultural organisations, Toronto, Canada’s
largest city, has struggled to recover fully from the long-term effects of a sudden huge reduction in
cultural expenditure by Ontario in 1995, and some organisations are still burdened by accumulated
debt.
Vancouver, on the west coast, has the second highest number of visible minorities (after
Toronto) in Canada. The city attracted large international immigration flows in the 1980s and first half
of the 1990s, particularly from Hong Kong and other parts of Asia, such as Korea and the Indian subcontinent. Unsurprisingly, Vancouver’s international market orientation for its goods and cultural cooperation is increasingly Asia-Pacific. Vancouver enjoys high international ‘brand’ recognition9 and is
consistently recognised as one of the world’s most liveable cities.10 It has attracted the highest
proportion of artists, cultural workers and creators of any major Canadian city and is noted for its
festivals (International Film Festival, International Jazz Festival, Folk Festival etc) and new media.11
Québec: a special case
Unlike the Federal Government and many Canadian provinces, the Government of Québec has
expanded its support for culture in external relations, focussing especially on the promotion of the
Province’s creative and cultural industries. The Federal Government cuts of 2009 were partially offset
8
Kelly Hill, Municipal Cultural Investment in Five Large Canadian Cities. A study prepared for the City of Vancouver, the City of
Calgary, the City of Toronto, the City of Ottawa and the Ville de Montréal, Hill Strategies, January 2012. Online. Available at:
http://www.creativecity.ca/database/files/library/Municipal_cultural_investments_5cities.pdf (accessed 18 February 2014).
9
Miro Cernetig, ‘Vancouver Surpasses Toronto and Montréal in City Brands Index’, The Globe and Mail, 17 March 2008,
referred to in Catherine Murray and Tom Hutton, ‘Vancouver: The Enigmatic Emerging Cultural Metropolis’, in Helmut
Anheier and Yudhishthir Raj Isar (eds), Cities, Cultural Policy and Governance, Los Angeles: Cultures and Globalisation Series,
SAGE, 2012, p.314.
10
As defined by surveys conducted by the Economic Intelligence Unit and the culture and urban lifestyle magazine Monocle
among others.
11
Hill Strategies, Mapping Artists and Cultural Workers in Canada’s Largest Cities, 9 February 2010. Online. Available at:
http://www.hillstrategies.com/content/mapping-artists-and-cultural-workers-canada%E2%80%99s-large-cities.
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by increased funding by the Québec Government. This meant quite a lot of additional money had to be
found to support the Province’s cultural sector and its international work.
Québec has used cultural diplomacy and astute marketing development to assert its rights
within the Federal system to distinguish itself from the rest of Canada. As Simon Mark has observed:
‘Since 19 5, Québec has operated its own ‘paradiplomatic service,’ complete with its ‘own
minister, a corps of officials specialising in international affairs, and a network of foreign
representatives’.12
Québec’s international cultural ambitions are supported by representations in 26 cities in 15
countries.13 In Europe these are Barcelona, Brussels, London, Paris and Rome. The cultural mandate for
Québec House in London, for example, is to support market development initiatives for Québec artists
not only in the UK and in the Republic of Ireland, but also in the Nordic countries. Around 200 Québec
artists in all disciplines are supported annually.14 It collaborates with cultural institutions in these
countries who are interested in working with practitioners from Québec and facilitates opportunities
for programmers and presenters to see their work, whether in Europe or Québec. The focus of the
London office has shifted from cultural identity building to supporting Québec’s CCIs. So in 2009 it
introduced three-year partnership instruments with UK cultural institutions and academia to target
weak links in Québec’s cultural trade chain through market and career development. This included a
focus on young Québecois classical musicians. Québec House in London also co-operates with local
authorities to encourage artists’ residencies and exchanges and intellectual projects. In the UK it has
long established partnerships with the British Council.
The chief government or quasi-governmental agencies involved in international cultural cooperation at provincial level are the Ministère de la culture et des communications, the Ministère des
relations internationales, de la francophonie et du commerce extérieur and the Conseil des arts et
des lettres du Québec.
The Ministry of Culture and Communications (MCC) takes a lead role for international cultural
affairs. Absolute priority objectives for the MCC are supporting the cultural sector to expand its
activities internationally and promoting the French language. Also very important to the MCC are:
supporting foreign policy objectives; improving diplomatic relations with other countries and regions;
promoting dialogue and building trust with foreign publics; promoting a favourable image of the
Province; the branding of Québec abroad; improving investments, exports and business generally and
the CCIs in particular; and increasing cultural exchanges and co-operation. Objectives described as
‘important’ are: attracting tourism; supporting cultural diversity; fostering people-to-people contacts;
strengthening civil society; promoting translations; supporting intellectual exchange; promoting higher
12
Simon Mark, A comparative study of the cultural diplomacy of Canada, New Zealand and India, unpublished PhD
dissertation, The University of Auckland, 2008. Online. Available at:
https://researchspace.auckland.ac.nz/bitstream/handle/2292/2943/02whole.pdf?sequence=9 (last accessed 9 June 2013).
13
‘Représentations à l’étranger’, Ministère des Relations internationales, de la Francophonie et du Commerce extérieur du
Québec website: http://www.mrifce.gouv.qc.ca/fr/ministere/representation-etranger.
14
Maude Lafiamme, Québec Culture, January-April 2014, Délégation générale, London, p.2.
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education and students exchanges; supporting diaspora communities; providing aid to developing
countries; contributing to conflict prevention; and investing and valuing Québec studies.
Sectors regarded as important by the MCC for intervention in support of culture in external
relations are: intellectual exchange, museums/touring exhibitions; heritage; libraries/archives;
performing arts; visual arts; literature and literary translations; music; film/audio-visual; video games;
press and book publishing; TV and radio; architecture; and sport. One of the strategies of MCC is to
host international programmes, e.g. by helping Québec festivals with resources to invite European and
international broadcasters to outreach and related events.
The Ministry of International Relations, Francophonie and External Commerce (MRIFCE) is
ultimately responsible for international policies and geographic strategies, as well as the network of
Québec representative offices abroad. Its European Strategy 2012-2015 provides Québec with an
action plan to develop its economic space in the context of the EU-Canada Comprehensive Economic
and Trade Agreement negotiations.15 Culture is one of its priorities as the following extract makes
clear:
‘The French language and culture are the most powerful vectors in the affirmation of Québec’s
identity. In this respect, creators and artists have made an inestimable contribution to the
reputation Québec has made for itself the world over... The European continent is the number one
cultural market for Québec.’16
The
ec Pro incia o ern ent has signed a number of bilateral multi-sectorial cooperation agreements with countries and regions in Europe (e.g. France, Italy and the UK, Catalonia,
Flanders, Wallonie-Bruxelles) and beyond (e.g. China, Israel and Mexico). Some 20 of these are active
and culture has a major dimension, such as the agreement with Bavaria, which celebrate its 25 th
anniversary in 2014. Exchanges with Bavaria have taken place in several areas, e.g. dance, theatre,
books and translation. Québec’s European strategy targets France, Germany and the UK, as well as
Belgium, Italy, Spain and Russia. Another geographical strategy targets the USA.
The o nci or Art an etter o
ec (CALQ) also plays an important role in the
international dissemination of Québecois culture, supporting cultural actors in the dissemination and
circulation of Québecois creative and cultural products abroad and researching international markets.
CALQ supports a wide range of international mobility programmes to well over 0 countries
worldwide. It funds artists’ residencies through a network of Studios du Québec, located in Berlin,
London, New York, Paris, Rome and Tokyo. The core of its declared approach is to support artists on
the basis that they are the ones who ‘pave the way’, open up new territories and prepare the ground
for others to follow.
15
‘Stratégie du gouvernement du Québec à l’égard de l’Europe’, Ministère des Relations internationales, de la Francophonie
et du Commerce extérieur du Québec website: http://www.mrifce.gouv.qc.ca/fr/grands-dossiers/politiques-etstrategies/strategie-quebec-europe/strategie.
16
Ibid.
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preparatory action CULTURE in EU EXTERNAL RELATIONS
For a number of Québec’s artistic companies, international touring is essential to make their
productions profitable. To sustain this and to further the cultural attractiveness of Québec and its
major city Montréal, CALQ is prepared to assist with reciprocal visits to the province from international
companies.
Universities are also recognised as important players in international cultural relations, for
example, the University of Québec has a doctorate in museology in partnership with the Louvre.
It is widely acknowledged that Québec has been very successful in promoting its artists,
performers, and creative and cultural industries on the world stage. It has been assisted in this process
by the oci t e velopment des entreprises culturelles (SODEC), which provides soft loans for the
market development and export of the Province's CCIs. The Society for the Development of Cultural
Enterprises was established in the belief that global competition made access to foreign markets more
difficult and there was a need for targeted marketing strategies. In addition, the long established
Commerce International des Arts de la Scène (CINARS) provides an annual international platform in
Montréal to showcase performing artists and companies in theatre, dance, classical music, etc.
The cultural sector and its concerns
Relatively few organisations in Canada are in receipt of significant amounts of public funds in
the way that such organisations may be in continental Europe. In recent years, the Canadian funding
model has moved from one of mixed funding increasingly to one which resembles that of the USA,
with the emphasis on earned income and private sector support. Exceptions to this are the Crown
Corporations, including the Canadian Museum of Civilization, the National Arts Centre, the National
Gallery of Canada and the Canadian Broadcasting Corporation, and the four departmental agencies
such as the National Film Board of Canada and Library & Archives Canada. Other exceptions are those
cultural organisations in receipt of subsidy or grants from provincial governments especially in Québec.
Cultural stakeholders who submitted evidence during the consultation phase came from a diverse
community of interests and arts focus, and from the creative and cultural industries.
In many respects the Royal Ontario Museum (ROM) in Toronto is Canada’s most international
museum. Its collection contains material from across the world and from all periods of history, both in
relation to art and to national history. The Provincial Government of Ontario is an important funding
source, but there is no connection with the Federal Government. Recently it has been involved
internationally in exhibition projects with China and the Kunsthistorisches Museum, Vienna, and is
working with the National Museum of Archeology, Naples, on an exhibition on Pompeï. It has cooperated on many occasions with the British Museum, as well as the Victoria and Albert Museum and
the Louvre and is keen to continue developing exhibitions with Europe. To mark the Canada-China Year
of Cultural Co-operation 2014, the ROM is borrowing a major collection from the Palace Museum,
COUNTRY REPORT CANADA | 14
preparatory action CULTURE in EU EXTERNAL RELATIONS
Beijing.17 ROM will be working closely with the local Chinese community in Toronto to help promote
the event.
The ienna e e ontr a has ambitions to position itself as North America’s flagship
contemporary art event. It is focussing on co-producing, e.g with the Liverpool Biennale and with São
Paulo and co-producing an exhibition of a Japanese artist with Yokohama and Sydney. Although it sees
visual arts as global, the Biennale regards its principal markets as Europe, the USA and South America.
The McMichael Art Collection is a major public art gallery with some 6,000 Canadian artworks,
including a significant holding of works by First Nations artists. It was started as a family collection and
donated to the Province of Ontario in 1966. From the National Gallery of Modern Art in New Delhi it
brought to Canada a major exhibition of the Nobel Prize winner and Bengali poet and polymath
Rabindranath Tagore that has been showing in Europe and the USA. It has been negotiating with the
Morandi Museum, Bologna, about an exhibition of the Canadian artist Lawren Harris and with the
University of Bologna about materials from the Canadian ‘Group of Seven’,18 of which Harris was part.
It is targeting Paris, Berlin or Dresden for a major exhibition of Inuit art. Apparently there is little
engagement with, or encouragement, from the Federal Government and although the Ontario
Provincial Government may provide assistance, the McMichael experience (echoed elsewhere) is that
museums outside Québec that wish to undertake international collaborations have to take the
initiative themselves.
The Canadian Opera Company (COC) is the largest producer of opera in the country. It has
assumed a national and international role for itself, but finds it difficult to receive political validation
and acknowledgement for this at Federal level – something it considers as important as finance. It
showcases Canadian talent and brings in international performers, and has performed at major
international festivals such as Edinburgh, Hong Kong and Melbourne. Its international work is primarily
through co-productions, e.g. with the Teatro Real, Madrid, and the Festival d’Aix-en-Provence or, in
the case of the Staatsoper, Berlin, with a rental of the space.
or ontr a was launched in 2006 by Canadian and UK concert promoters. Originally an
annual talent scouting/networking platform, it has evolved into an international music event/festival.
It invites international music buyers and the media to experience Montréal’s diverse contemporary
music scene. M for Montréal has worldwide partners and collaborates in exchanges, which are
considered to benefit the city of Montréal, but it continues to find it difficult to finance international
work. The company focus is on Europe – especially France, the UK and Germany – and the USA.
Making an impact in those countries assists market development in other parts of the world such as
South America and Asia – in March 201 , for the eighth successive year, it will be showcasing in Austin,
Texas, Québec Francophone and Anglophone artists at the cutting edge of music.
17
This commemorative year is not, apparently, considered to be a major diplomatic initiative by the Federal Government
according to one source.
18
The ‘Group of Seven’ were notable Canadian landscape painters from the 1920s-1930s.
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The Luminato Festival is a multidisciplinary theatre, dance, music, film, visual arts, literature
and design event that brings international and Canadian artists to Toronto. It is also a market place to
connect and exchange artists internationally. Its artistic director looks to Europe and increasingly other
continents, which are the origins of a lot of immigrants and second generation Canadians. It has
received support from the Goethe-Institut and the British Council to bring artists from Germany and
the UK, but was hit by serious budget cuts in Canada in 2012.
Montréal is considered to be the capital of circus in North America due to its training,
production and distribution activities and TOHU, la Cité des arts du cir ue, brings in and disseminates
circus shows worldwide. Operating from a disadvantaged area of the city, TOHU has a mission to
involve the local communities in its work, as well as branding Québec-based and international circus
companies. Thanks to relationships TOHU developed with Buenos Aires, the City of Montréal was able
to build bridges between the two cities. According to TOHU, some of the best circus schools are in
France and Scandinavia and it considers there to be many opportunities for international engagement
in Europe.
The Ontario Science Centre (OSC) is known globally as one of the first interactive science
museums in the world, and is involved in a lot of international work. In 2013, the OSC had travelling
exhibitions to Shanghai, Hong Kong and Beijing. Delegations have come regularly from Asia, Europe
and the USA in recent years to see the Centre and how it operates. The Centre enjoys close relations
with those running science museums in Europe and with the European Network of Science Centres and
Museums (ECSITE), which receives EU funding. There is no such recognition for science centres by the
Federal Government in Canada. However, the OSC has received a grant for two years from the Ontario
Provincial Government to help increase its sales and open up new markets in Asia. Discussions are
underway with China to arrange for 10 of its science researchers to work at the OSC to develop a joint
project, but the Centre harbours doubts whether it can raise sufficient funds for a major European
project.
The second largest science centre in Canada is Science North, which is also involved in
international work on a bilateral basis. It has been working on a collaboration with Experimentarium in
Copenhagen, which is Denmark’s largest science centre. Science North considers there is an increasing
interest and market for the work of science museums, especially in Asia. New centres are being built in
China, India and Singapore and Science North has received funds over three years from the Provincial
Government of Ontario to assume some of the risks in setting up exchanges with Asia.
The overwhelming concern of the Canadian cultural sector, repeated time and again, was that
lack of funding was inhibiting international engagement. Certainly there is no lack of interest on the
part of the cultural community. As indicated, some provinces and cities, especially Québec and
Montréal, provide financial assistance for the promotion and market development of Canadian
culture, in Asia in particular, but there is little support, or indeed programmes or instruments, at
Federal Government level to facilitate international interaction. The Canada Council provides some
money for touring, but with a ceiling of CA $ 75,000 (54,752 euros) it limits what can be toured.
Moreover, lack of resources make it difficult to finance first visits of artists from some countries, e.g.
Venezuela or, in the case of the EU, Romania or Bulgaria.
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preparatory action CULTURE in EU EXTERNAL RELATIONS
A related concern is the seeming lack of acknowledgement at Federal Government level about
the value Canadian culture and creators bring to the country’s reputation internationally through their
work or their innovation.
Another concern registered was that Canadian trade commissioners or ambassadors fail to
think beyond the role of corporations as representatives of Canada on trade visits. They may
understand that cultural diplomacy can involve sending an exhibition or orchestra abroad, but (outside
of Québec) do not appear to have recognised that the creative industries or science centres can also
enhance the country’s reputation, whether through cultural events or as part of official delegations.
Even in Québec there is a feeling amongst cultural actors that more effort needs to be given to enable
cultural organisations to participate in trade missions, whether initiated by the Federal Government or
the Province itself.
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preparatory action CULTURE in EU EXTERNAL RELATIONS
CULTURAL RELATIONS WITH THE EU AND ITS MEMBER STATES:
REALITIES AND OBSTACLES
Cultural interactions and support
In October 2013, following four years of negotiations, the EU and Canada reached an accord
on a Comprehensive Economy and Trade Agreement (CETA), which seeks to eliminate most industrial
tariffs. Canada was the first industrialised country with which the EU concluded an agreement to
facilitate trade (the Framework Agreement for Commercial and Economic Co-operation 1976); indeed,
the partnership with Canada dates from 1959, making it the longest the EU has had with any
industrialised country. The EU is Canada's second most important trading partner after the USA, with
around 12 per cent of its external trade. It is anticipated that the CETA will increase bilateral trade by
some 23 per cent.
According to UNCTAD data, Canada ranked 12th in the top 20 exporters worldwide of creative
goods in 2008 with US $ 9.215 million (5.83 million euros). However, it had a creative trade deficit of
US $ 5.521 million (3.49 million euros).19
The EU Delegation in Ottawa is involved in some cultural projects through its Press &
Information budget. Chief among these are the European Union Film Festivals run in collaboration with
the cultural institutes and diplomatic missions of EU States and, in the case of Ottawa and Vancouver,
with Canadian film industry partners. The longest established is the Festival in Ottawa, created in 1984
in co-operation with the Canadian Film Institute. Vancouver's Festival dates from 1997, while that in
Toronto was established in 2004 and came about as the result of an initiative from the Goethe-Institut.
The lead role in the case of Toronto is now taken by whichever cultural institute or mission has the
EUNIC presidency in Canada and operates without EU funds. Another EU Delegation activity is the
Christmas Concert, which is televised. In conjunction with EUNIC, the delegation has plans in 2014 for
a short film festival, a writer's conference to mark Europe Day and speed language classes to celebrate
the European Day of Languages.
Canada was the featured country (together with Australia) in the 2013 Special Action for third
countries of the European Commission's Culture programme. Nine projects featuring Canadian
organisations were selected for support and they have been listed in Annex II.
As a result of a call for proposals in 2012, the European Commission signed agreements with
three Canadian universities to operate as designated EU Centres of Excellence (the University of
Alberta, Edmonton, Carlton University in Ottawa, and Dalhousie University in Halifax, Nova Scotia).
They join others in Montréal (McGill and the University of Montréal) and Victoria, among others.
As you would expect, the British Council and the Institut français are active in Canada, as is the
Goethe-Institut. The Istituto Italiano di Cultura and the Instituto Camões are among the other cultural
19
UNCTAD, Creative Economy Report 2010, 2010. Online. Available at: http://unctad.org/en/Docs/ditctab20103_en.pdf.
COUNTRY REPORT CANADA | 18
preparatory action CULTURE in EU EXTERNAL RELATIONS
institutes that are engaged. They are all members of the EUNIC cluster in Canada, which started in
2010 with a joint event about the university system in Europe.
Practical support and possible obstacles to the development of a strategic cultural
role for the EU in Canada
Although cultural differences between Canada and Europe are broader than is sometimes
imagined, there is a general consensus in Canada that engaging with Europe and European
organisations is generally easier than with many other parts of the world. This is partly attributable to
the historic European roots of many Canadian citizens and the continuing constitutional connection
with the UK. Other factors are that cultural interests are usually shared and European operators are
generally well organised.
When it came to potential opportunities for strengthening Canadian-EU cultural connections, it
was not altogether surprising that suggestions came readily from Québec province, where
engagement with Europe is already strong and where funding for international engagement has
continued to be sustained in the face of Federal Government cuts to international programmes.
Opportunities for EU-Canada cultural co-operation

A quite strongly held view amongst the EUNIC cluster was that any EU support should
concentrate on assisting those collaborations that are already in place; it should build on the
connections and networks that already exist.

While not necessarily disagreeing with this sentiment, the cultural sector in Canada considered
that EU assistance should give some priority to co-productions, co-curation and the provision
of support that kick-started collaboration between Canadian and EU practitioners across the
cultural sector, in particular in the following areas:
-
museum and exhibition co-operation;
science centre/museum collaboration;
co-operation in the area of circus;
performing arts (Canadian performing arts companies/professionals already look to
Europe as a prime destination for collaboration, exposure to new audiences and research,
and demand is likely to continue).

Similarly, initiatives that could strengthen collaboration between Canadians and Europeans in
higher education and research would be welcomed.

Support for city-to-city exchange and co-operation was also emphasised. Unquestionably, it is
some of the cities rather than Federal Government and many provinces that are more
internationally minded in the area of culture. Even in Québec, which is by far the most
internationally engaged province, it is the City of Montréal that has a dominant role. Of course,
Montréal and Toronto in Ontario have the critical mass in terms of population size to drive the
agenda.
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preparatory action CULTURE in EU EXTERNAL RELATIONS

It was considered that EU funding could provide a 'seal of approval' that would enable
Canadian organisations to attract monies from other sources, especially the private sector, to
enable international cultural projects to get off the ground.

Unlike a number of other countries examined during the course of the research, there appears
to be less difficulty in obtaining approval for visas for temporary work or performances in
Canada. Generally, the procedure was a formality, which in itself should be acknowledged as
an opportunity.
Potential obstacles

The biggest obstacle to closer cultural engagement with Europe and international co-operation
generally, mentioned time and again, was the lack of funds. Many potential projects remained
stillborn due to the inability to raise sufficient financial resources. This is partly the result of
insufficient recognition at Federal Government level in particular, but also among provinces in
Western Canada, of the value of culture in external relations.

Based on the experience of the European Commission's Culture programme, when Canada
was a featured third country, some Canadian partners considered the application process and
administrative procedures too complex and a disincentive. The process needed to be
simplified.

Taxation requirements in Europe, including withholding taxes, were also mentioned as a
possible obstacle.

The EU was sometimes regarded as nebulous; Canadians often failed to understand the nature
of the relationship between different European countries.
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preparatory action CULTURE in EU EXTERNAL RELATIONS
CONCLUSIONS
Since 2008 Canada has been in retreat from its support for culture in external relations. Only
the Province of Québec and its major city of Montréal has sustained and increased its expenditure in
this area. Key international programmes, PromArt and Trade Routes, were disbanded and the budgets
for cultural relations and local human resources were slashed. More than CA $ 60 million
(37.5 million euros) was lost for international co-operation and it has not been replaced. The financial
support that is available is very modest.
This does not imply any lack of interest in engaging internationally on the part of Canadian
cultural practitioners, but simply reflects the financial difficulties caused by reductions to funding at
Federal Government/agency level and in a number of the provinces. Time and again, the issues of
insufficient financial resources was raised as an obstacle to closer cultural ties with the EU and its
Member States.
Certainly the picture today is very different from that a decade or more ago, when the Federal
Government and its agencies took a leading role in building alliances with other countries in such areas
as cultural diversity and the sharing of cultural policy experience and research.
In the circumstances, Canadian cultural organisations and practitioners would welcome EU
financial assistance, if this would help co-operation initiatives between Canada and Europe, especially
in, but not limited to, the areas of museums, exhibitions, science centres, circus and the performing
arts, as well as higher education and research. Some Canadian organisations are well connected
internationally and this can facilitate engagement with prospective European partners. Such cooperation should extend to support for collaboration at municipal level, especially now that some
Canadian cities and their cultural sectors appear to be more committed to international engagement
than Federal Government, albeit the funds they have available may be constrained. Such constraints
are far less in evidence in Québec in general and Montréal in particular, and both continue to offer
avenues for stronger relations with Europe.
Aside from financial resources, there are not too many impediments to greater co-operation
between Canada and the EU, though there is an apparent lack of awareness of the nature of the EU
and the relationships of Member States to it and to each other. There is a perception sometimes that
EU Member States are competing rather than co-operating with each other. It would seem that the EU
needs to demonstrate it can build bridges within to be present without!
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preparatory action CULTURE in EU EXTERNAL RELATIONS
ANNEXES
Annex I: Methodology and list of people consulted
The initial phase in the preparation of this report involved a mapping process conducted
between March and July 2013. This comprised desk research and a questionnaire sent via the GoetheInstitut in Toronto to Federal Government departments and to the Conseil des arts et des lettres du
Québec and the Ministry of Tourism, Culture & Sport of the Province of Ontario. Responses were only
received from the latter two.
This was followed by a consultation phase in December 2013 and January 2014, designed to fill
the policy information gaps, etc. and to ascertain the opinions of a broad range of stakeholders on the
ground. Resources dictated that this exercise would be undertaken by the Goethe-Institut through
Uwe Rau and Manfred Stoffl, Directors of its representative offices in Toronto and Montréal
respectively. Focus group meetings were held in Ottawa with Federal Government officials, in Toronto
with members of EUNIC and in Montréal with provincial government and city officials and cultural
stakeholders from Québec. In addition, individual meetings in Toronto or telephone conversations
were arranged with six stakeholders from the cultural sector. Altogether 28 stakeholders contributed
evidence in the consultation phase.
The initial mapping report and this final report were written by Rod Fisher, and augmented by
him from desk research. Dr. Carla Figueira provided assistance. Notes of meetings in Canada were
taken by Hannah Day and Pascale Joubert of the Goethe-Institut in Toronto and Montréal respectively.
The following individuals attended a focus group of Federal Government officials (in alphabetical
order)





Brian Foreman, International Experience Canada, Citizenship and Immigration Canada
Damien Kotzev, Programme Manager, Scholarships, International Education & Youth Division,
Department of Foreign Affairs, Trade & Development
Kelly Langgard, Co-ordinator, Audience and Market Development, Canada Council for the Arts
Patrick Riel, Deputy Director Advocacy, Department of Foreign Affairs, Trade & Development
Charles-Henri Roy, Manager, Bilateral Relations, Department of Canadian Heritage
The following individuals also attended this meeting as observers:


Henri Proulx, Senior Advisor, Department of Foreign Affairs, Trade & Development
Jose Antonio Torres Lacasa, First Counsellor, EU Delegation, Ottawa
The focus group was moderated by Manfred Stoffl, Director, Goethe-Institut, Montréal.
COUNTRY REPORT CANADA | 22
preparatory action CULTURE in EU EXTERNAL RELATIONS
The following individuals participated in a oc
order)










ro p o ta e o er ro
ec in a p a etica
Marie-Ève Bonneau, Cultural Development Officer, Directorate of Culture and Heritage, City of
Montréal
Chantal Bouvier, Director of the President’s Cabinet, University of Québec at Montréal
Marie-Pierre Dolbec, Programme Officer, Directorate of Support for Dissemination and
International Outreach, Council of Arts and Letters of Québec
Clarence Epstein, Director, Special Projects and Cultural Affairs, Office of the President and
Vice-Chancellor, Concordia University
Sylvie Fortin, General and Artistic Director, Biennale of Montréal
Manuela Goya, Secretary-General of Montréal, Cultural Metropolis
Anne-Marie Jean, Chief Executive Officer, Culture Montréal
Marie Labelle, Advisor in International Affairs, International Affairs Directorate and
Intergovernmental Relations, Ministry of Culture and Communications, Québec
t p anie a oie, Chief Executive Officer, TOHU, City of Circus Arts
a tien a ra, Director, M for Montréal and Avalanche productions
The following individuals participated in a focus group of EUNIC Canada (in alphabetical order)




Adriana Frisenna, Director, Istituto Italiano di Cultura di Toronto
Thierry Lassere, Executive Director, Alliance Française de Toronto, (co-president, EUNIC
Canada 2013-14)
Claire Le Masne, Consulat Général de France (co-president, EUNIC Canada 2013-14)
Anna-Paula Ribeiro, Co-ordinator of the Portuguese Language, Instituto Camões
The focus group was moderated by Uwe Rau, Director, Goethe-Institut, Toronto.
The following were interviewed individually in person or by telephone by Uwe Rau (in alphabetical
order):






Victoria Dickenson, Executive Director, McMichael Canadian Art Collection
Guy Labine, Chief Executive Officer, Science North
Lesley Lewis, Chief Executive Officer, Ontario Science Centre
Alexander Neef, General Director, Canadian Opera Company
Dan Rahimi, Vice President, Gallery Development, Royal Ontario Museum
Jörn Weisbrodt, Artistic Director, Luminato Festival
In addition, helpful assistance with information was provided by Colin Hicks, consultant and former
Director of Cultural Services, Québec Government Office in London.
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preparatory action CULTURE in EU EXTERNAL RELATIONS
Annex II: EU-Canadian joint programmes and initiatives
A. EU-Canadian cultural cooperation activities run by the EU Delegation20
20

European Union Film Festival
The European Union Film Festival (EUFF) is a singular rendez-vous for lovers of European
cinema in Ottawa, Toronto and Vancouver – a unique occasion for Canadians from coast to
coast to experience Europe's diverse and rich film heritage.
Every year, the EUFF presents a collection of exciting European film premieres and runs for
two weeks in late November/early December. The EUFF is organized by the European Union
Delegation to Canada, the Diplomatic Missions and cultural institutes of Member States in
cooperation with Canadian film industry partners. The EUFF also enjoys the support of loyal
moviegoers who, year after year, contribute to the success of the festival.
Whether highlighting a historic event, a political subject or a personal dilemma, European
films are intellectually stimulating and culturally engaging.

Ottawa
The Ottawa Film Festival was founded in 1984 in collaboration with the Canadian Film
Institute, a non-profit cultural organisation and the oldest film institution in Canada. At the
time, there were only 10 Member States. Over the years, as the EU embraced new members,
the Film Festival grew with an even greater wealth of languages and cultures. Today, the
EUFF is a well-established tradition in Ottawa with premieres from almost all 28 EU Member
States.

Vancouver
The Vancouver EUFF began in 1997 and is brought to audiences on the western coast thanks
to the dedication of Consulates and Honorary Consuls of EU Member States and our
Canadian partners at the Pacific Cinémathèque Pacifique film society.

Toronto
The most recent edition of the EUFF was set up in 2004 in Toronto. Thanks to efforts by EU
Member State Consulates, Torontonians can now take part in this annual celebration of
European cinema. Visit the Toronto EUFF website:
http://eeas.europa.eu/delegations/canada/outreach/eu_film_festival/index_en.htm.

European Union Christmas Concert
Music enthusiasts turned out in force on 6 December 2013 at Notre Dame Cathedral Basilica
in Ottawa for the 6th annual European Union Christmas Concert – a unique occasion to enjoy
Christmas carols and songs in various European languages. The event is a joint effort by the
EU Delegation, the Diplomatic Missions of EU Member States and local school choirs. This
Information provided by the EU Delegation to Canada.
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Preparatory Action CULTURE in EU EXTERNAL RELATIONS
year, the programme featured performances by Ottawa Children's Choir, Chorale de La Salle
and Calixa-Lavallé Choir.
http://eeas.europa.eu/delegations/canada/outreach/events/2013/mac_christmas_concert_
en.htm
In addition, in 2014, a number of activities are in the works, including a short–film festival, a writers’
conference to mark Europe Day and speed-language classes to mark the European Day of Languages
next fall.
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B. EU-Canadian cultural cooperation activities run by the Commission Headquarters
Special Action 2013
Each year the special action enables one or more countries to be the subject of a call for proposals. The call enables grants to be given for cooperation projects, which correspond
to the objectives of the Culture Programme.
The country(ies) is/are indicated each year on the website of the Executive Agency at the latest 4 months before the deadline for submission.
The only eligible applicants are public or private organisations with legal personality whose main activity is in the cultural field (areas of cultural or creative activity) and whose head
office is in one of the countries taking part in the Programme.
Canada and Australia are participating in 2013.
http://ec.europa.eu/culture/our-programmes-and-actions/actions-with-third-countries_en.htm
Name
PERFORMIGRATIONS –
PEOPLE ARE THE
TERRITORY
Brief Description/Overall Objectives
Each immigrant is a performer: no matter the reason for the move, relocation forces one to
adjust to a new territory and to play a new role.
EU Funding /
Duration
200,000.00 €
Contact
http://www.performigrations.e
u/fr/
Therefore, the visible map is not the real territory; people are the territory, and they are mobile.
They are an intricate territory made of stories and experiences. For this reason, EU is more than
a geographical space: it is a space of storytelling transcending visible borders. Each time
Europeans relocate inside or outside EU, they change their inner and outer landscapes because
they are performing changes. Similarly, every time newcomers join the EU, the EU territory
changes, too.
Together, ICT & performative arts can help us to develop new ways to express our mobile
selves/belonging, in turn mediating among different cultural heritages. Expanding this idea,
Performigrations develops an interactive & performative art-installation to make visible the
mobile territory created by the movements of people across EU, and between EU & Canada.
More traditional forms of art integrated with new ICT will develop an accessible multimedia
interactive platform that will use new geo-locative technologies to display old and new forms of
storytelling. This interactive medley of words, images, sounds, and video- performances will
connect territory with place and enable the construction of a communal narrative through the
on-going addition of materials as the installation moves from location to location.
A network of 16 high-profile EU/Canadian Institutions have created a joint venture to promote
and implement this project; their goal is to consolidate a new approach to people’s storytelling
and promote awareness of what brings us together as both Europeans and world citizens in
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spite of (or because of) cultural change. Web2.0 activities and customised cultural events will
make the project accessible to online & live audiences alike, engaging people across the same
mobile territory they contribute to moulding.
Boomerang
For Boomerang, 3 theatres from Europe (IT, PT, GB), 2 from Canada and one from Australia,
have joined together to work globally on the theme Poverty and Migration.
200,000.00 €
http://www.google.be/url?sa=t
&rct=j&q=&esrc=s&source=web
&cd=2&ved=0CDQQFjAB&url=ht
tp%3A%2F%2Fwww.culturefund
.eu%2Fwpcontent%2Fplugins%2Fsppace%
2Fsppacepdf.php%3Fid%3D1201&ei=qYX
nUoPxAqiGywPbwoHwCQ&usg=
AFQjCNHxwT_66JlljMIckm3n863
EK2_2gA&sig2=_Q5LpwECi12m
W1DWfrT0qQ&bvm=bv.599301
03,d.bGQ
196,000.00 €
http://www.lagrainerie.net/projets/autopistes
-2014-2015.html
The traditional emigration countries Australia and Canada are, with their European roots, the
most suitable partners to study the cultural results of past and present migration.
Over the last century Europe itself has become a desirable destination for economic refugees
from all over the world. But in view of the current economic crisis, the continent is now
confronted with a new migration flow: gloomy prospects for the future in Southern Europe are
forcing many young people to unwanted mobility: searching for work, they leave their native
countries and head off to the richer ones in middle and north Europe.
Emigration and Immigration: these movements of people draw their lines between the
continents and countries, between past and present. Personal stories hang on these lines like
pearls, stories about poverty and hardship, but also about hope and solidarity.
Boomerang’s goal is to discover such stories and to put them on stage. Through this, theatres
from 3 continents become seismographic research institutions for the flow of migrants.
Authentic life stories will be placed under the burning glass and examined artistically.
Artists in 6 cities worldwide conduct interviews with young people for whom ‘Poverty and
Migration’ is presently relevant. In contemporary documentary theatre a form has been chosen,
which fits the theme and the autobiographical stories perfectly.
7 intercontinental co-productions combining documentary theatre form with the aesthetical
variety of the involved theatres grow out of the interview material. All performances are
embedded in extensive Art Education programmes.
The emotional effect of the documented real life stories ensures that the performances move
the audiences, also those ones with restricted access to culture, in a long lasting way.
Autopistes: Circus
dissemination
In the current context of crisis, Europe has strong disagreements between the South who
suffers severely and the North more resistant. Some economic actors engaged in a civic
approach are seeking a new hybrid business model between productivity and contribution.
Contemporary circus demonstrated great creative vitality. It helps to live together and conveys a
positive image of our continent. But the circulation of circus work remains fragile: the crisis of
COUNTRY REPORT CANADA| 27
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the market cannot absorb new emerging talents every year.
The situation in Canada is similar: Montréal is isolated from the rest of the continent.
Can cooperation between Europe and Canada provide solutions for structuring networks and
contributing to interconnected movement of circus? Can this dynamic feed the creative capacity
of the sector?
The four partners of Autopistes have come together to answer these questions with a project
aiming to improve the circulation of works by structuring the circus network.
Migrant Bodies
Migrant Bodies is a project created in partnership between Comune di Bassano del Grappa
(Italy), La Briqueterie – Centre de développement chorégraphique du Val de Marne (France),
Circuit-Est (Québec), The Dance Centre (British Columbia) and HIPP The Croatian Institute for
Dance and Movement (Croatia).
200,000.00 €
http://www.thedancecentre.ca/
programs/choreographic_projec
ts
Today the whole of the western world, and not only, is traversed, physically, by a population
without nationality or territory, which in itself, in its numbers, appears almost as big as a
continent: the population of migrants. Migrants for hunger, for war, for fear or for choice, all of
them carry on their bodies, their territory. The continuous journey widespread, and from some
points of view uncontrollable of the migrants, builds a network of cultural and physical
connections which expands to every part of the planet.
Migrant Bodies uses artistic and cultural tools to open up a civil reflection on migrations and the
cultural impact and differences they bring, seen as sources of values and richness for the whole
European and Canadian societies.
The project does so by inviting 16 artists (6 choreographers/dancers, 5 writers, 5 visual artists)
from three European countries and two Canadian provinces to carry out two years of research
on migrations and the social and cultural changes that migrations generate in local societies, in
order to produce works to be staged in established and renowned venues, or in site specific
locations, and to portray new forms of identity of the migrant bodies to the wider possible
audience.
This research is opened up in several ways: by community meetings, meetings with immigration
communities, communities of migrants, audiovisual outputs touring among the partner cities, a
web platform for artists and critics. A final international symposium and the Migrant Bodies
online catalogue of the project, which will collect the documentation of the experience,
evaluate and disseminate the final outcomes of the project.
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Move On – New Media Art
from Europe, Australia
and Canada
Move On aims to create a sustainable media arts lab and festival network between Europe and
Australia and Canada, building on the legacy of the project initiated with help of the Culture
2013 programme.
200,000.00 €
http://werkleitz.de/
200,000.00 €
http://eacea.ec.europa.eu/cultu
re/funding/2013/selection/docu
ments/strand-135/2013-listselected-135-final.pdf
Its vision is to enable artist to work on the edge of new media technologies, using the hosts
infrastructure and cultural surrounding to cooperate with local students, artists and specialists.
And finally to present and interact with a wider off-/online audience. The project will incl.:
-
-
LEMNOS – GALLIPOLI
PROJECT
16 research and production residencies for Australian, Canadian and European media artists
or groups selected by an international jury of ALL partners highly specialised
curators/project coordinators;
16 individual presentations/exhibitions/workshops on media art for local audiences in 9
cities in 6 different countries in 3 different continents;
A common jury in Brisbane, AUS;
A public 2-4 days conference/symposia in Brisbane including presentations of all partners;
A public 3-4 days conference or other networking event in Toronto, including the artists in
residence, European invited guests and Can. Partners;
The establishing of one extensive joint website and further project promotion on all partners
websites as well to other social media and web 2.0 platforms and beyond;
Flyers, postcards, posters and newsletters;
A major final exhibition/festival of media art presenting the 16 new commissioned projects,
plus presentations of all partners;
Video online documentation including the 16 artists or groups and their new productions;
Further promotion, dissemination and distribution of the commissioned media art works to
international exhibitions, museums, festivals, galleries, curators, critics and media during
and also after the project period (another major move on exhibition of the commissioned
projects will follow in Australia, but for administrative reasons in 2016, unfortunately after
the projects termination – therefore not included in the budget calculation.).
The LEMNOS-GALLIPOLI Project is inspired by the occasion of the Centenary of the Gallipoli
Campaign (1915-2015), a significant common historical event for participating countries
Australia (AUS), Cyprus (CY), Greece (EL) and Turkey (TR). The key objective of the Project is to
bring together artists and cultural operators from diverse cultural and artistic disciplines to
create innovative and interdisciplinary artistic and cultural products on the theme of a woman's
perspective on the impact of war on our societies. Utilising the example of the strong bonds of
friendship forged in the aftermath of this tragic event between opposing sides AU and TR, the
Project aims to make a wider comment on the capacity of art and culture to serve as a bridging
vehicle in the rehabilitation of fractured relationships resulting from historical conflict in
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general.
The Project will consist of a number of works/activities that develop aspects of this theme. In
particular:
-
-
a Contemporary Opera in three languages (EN, EL and TR), that uses the stories of three
women (an AU nurse, a TR mother of a wounded soldier and an EL war widow) to present
the women's perspective of an historic event that had a profound impact on their individual
countries. Over 20 artists from the participant countries will collaborate in the Opera's
creation, production and performance phases which will be staged in AU and EL during the
Centenary Year 2015. The Opera will also be recorded and distributed on CD and digital
media;
a digital multimedia Exhibition of historic material on 'Women in War', curated in AU and
hosted in all participating countries;
an historic Book on the same theme, authored by an AU writer, translated in EL/TR for free
dissemination to schools in all participating countries; and
a Conference and school lectures in AU on the sidelines of the Exhibition.
The Project promotes the collective EU identity through works that intertwine different cultural
elements and artistic disciplines in distinct artistic works.
Weather Stations
Weather Stations harnesses the transformative power and vision of literature to explore in the
context of climate change how, as European and global citizens, we might live our lives
differently.
Weather Stations in Poland, Germany, UK, Ireland and Australia will host a Writer in Residence
programme, providing the creative heart to the project from which a range of activities for
artists, activists, philosophers, scientists and young people will flow. Throughout online
communication and evaluation will inform the project. The programme will include debates,
skills development, online activity and creative projects in schools and communities, festivals
and literature hubs. A body of visionary new writing will emerge.
200,000.00 €
http://eacea.ec.europa.eu/cultu
re/funding/2013/selection/docu
ments/strand-135/2013-listselected-135-final.pdf
Each Weather Station will establish a Sub Station in a local school or college to explore how, in a
materialistic world geared to creating young consumers, we nurture responsible young citizens
with the knowledge, inspiration and tools to fight for a sustainable future.
Our Australian partner provides our frontline Weather Station, beginning with a 3 week
residency for writers from European Weather Stations.
Here earth inspired stories from indigenous elders will mix with the voices of scientists,
COUNTRY REPORT CANADA| 30
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politicians, artists, young people, and communities experiencing first-hand the impact of floods
and bush fires.
Over 18 months our writers will travel to each European Weather Station to share their work. In
2015 the European Sub Weather Stations will convene a Young People’s Summit in Berlin to
agree and disseminate the most powerful narratives and the most effective tools to help us
navigate a new future and inform a new sense of responsible European citizenship and global
connection. This will be mirrored by an equivalent event in Melbourne. Alongside the Summits,
all our writers will share their new work and experiences with a wide -ranging public, complete
with full media attention, as part of the internationales literature festival berlin.
Human Futures – Shared
Memories and Visions
The HUMAN FUTURES project invites European and Canadian citizens to share their memories
and visions through participatory cultural projects. Today we are confronted with enhanced
technological solutions in our daily lives and navigate continually between multiple online and
offline realms of perception. Problem solving in our cities reaches a new interdisciplinary
complexity which we cannot assume individually anymore but for which we need to conceive
new spaces for collective thinking and community building:
200,000.00 €
http://www.fact.co.uk/
The HUMAN FUTURES MARKETPLACE in Aarhus invites international cities to showcase and
exchange their visions for sharing experience of urban problem solving via market camps,
workshops and panels.
The HUMAN FUTURES PROJECTION PARCOURS in Montreal presents the shared visions of the
MARKETPLACE on large-format projection-sites in the urban space as a digital stage for
encounter and agora for exchange for the citizens.
The HUMAN FUTURES EXPOSITION in Liverpool invites the citizens to participate in a sharing
experience environment of different perception levels that document the results of our artistic
explorations.
In our project we rethink the role of the artist as a moderator for creative processes that involve
the citizens in translocal dialogues. As innovative thinkers, problem solvers and avant-garde
reality constructors, 4 European and 4 Canadian artists travel to the participating cities and
explore new spaces for sharing and collectivity, using culture’s transformative power to show
people new perspectives.
Out of our artistic explorations we will develop the HUMAN FUTURES TOOLKIT that provides
strategies for stimulating creative sharing and collective identity construction for the future
development of our cities. With the continual challenging of the European Union and Canada as
spatial, economic, politic and identitary entities, we must continually stimulate the citizens’
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collective imaginary to keep these places vital and meaningful realities.
Hotel Obscura
Hotel Obscura is the long term curatorial and network initiative of Mezzanine Spectacles (FR),
Die Fabrikanten (Austria – AT), Ohi Pezoume (Greece – EL), and triage live art collective
(Australia – AUS) in association with selected EU/AUS partners. By appropriating and inhabiting
a hotel space in Vienna, Athens, Paris, Marseille and Melbourne, Hotel Obscura will offer
professional development opportunities for trainee, established and emerging artists within site
specific live art performance research laboratories in each partner city. The project will focus on
the creation of live art: intimate, interactive and site-specific works which will be presented
within a major performance outcome in tandem with a 3 day ‘Performing The City’ Conference
in Melbourne, Australia at MIAF (Melbourne International Arts Festival) in October 2015.
200,000.00 €
http://www.triageliveartcollecti
ve.com/-in-development.html
200,000.00 €
http://eacea.ec.europa.eu/cultu
re/funding/2013/selection/docu
ments/strand-135/2013-listselected-135-final.pdf
Alongside this major presentation platform several key creative strategies will be implemented
throughout the Hotel Obscura project in order to create, sustain and build a richly expanded,
value-added cooperation that spans partners in three EU countries and Australia. Hotel Obscura
is in essence a collaboration project that seeks to develop long-term artistic networks and
project-based cooperation between artists, producers, and organisations in the innovative field
of participatory performance and the expanding socio-cultural sense of gift culture within a 24
month project. It is a highly developed, unique and innovative collaboration initiated through
strong aesthetic, political and social concerns. It is also a high quality partnership in terms of the
partners expertise (live art, geopolitical and audio-gaming based works) which seeks to
transform perceptions of time, distance, globalisation and the wider urban fabric for a wide
range of audience-participants in four partner cities.
Hotel Obscura will investigate the complex relationship between travel, distance, time and
identity for EU and AU artists, organisations and audiences.
SMEEC – Sistema-inspired
Music Education and
Exchange with Canada
This cooperation project with Canada enables young people, their tutors and professional
musicians from the EU and CAN to rehearse, perform and work together, learning from each
other through the universal language of music. A new composition for orchestra and voices,
inspired by the cultures of each country, will be commissioned. Over 2,000 different young
people will be involved in the project playing and singing together in instrumental and vocal
groups in up to 50 performances.
Participating ensembles have been inspired by the Venezuelan El Sistema programme. Young
musicians and their tutors will perform and make music together, share knowledge and learn
how Sistema-inspired projects are adopted and adapted in each country. The particular local
community and culture will be taken into account whilst learning from the general principles
that apply everywhere. Through music they will learn about important cultural differences
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whilst also learning what unites us as a human race.
Professional musicians will play alongside the young musicians as well as performing to them.
The professionals will ‘team teach’ with the teachers, inspiring them, raising expectations and
improving knowledge and musical quality.
Networks will be established between the young people, their tutors and the professional
musicians to ensure on-going communications in between the 7 occasions when the musicians
will be physically together in the EU (total: 12 days) and CAN (total: 13 days).
Dissemination will be extensive. All sessions will be documented with work posted on YouTube
and social media reaching a wider audience throughout the project.
A research program looking at the pedagogy of social action programmes through excellence in
music will provide on-going monitoring and evaluation as well as a lasting legacy and
international dissemination through expert conferences.
Partnerships, both transnational and transatlantic, will be strengthened and enhanced through
making music together.
European Mobile Dome
Lab for International
Media Artists
The EMDL aims to develop cultural exchanges between EU country partners and partners in
Canada, developing an international network for exchange of artistic and technological
competencies, with the goal of developing and documenting new artistic languages and
grammars and to explore modes of artistic expression for the fulldome medium.
200,000.00 €
http://i-dat.org/emdl-europeanmobile-dome-lab/
The EMDL will be an interdisciplinary collaborative process, which foregrounds embodied
immersive experiences. Participants in this project will be artists, scientists and theoreticians
from Canada and EU who are active in creating media art or pursuing innovative
interdisciplinary research and wish to collaborate in order to create fulldome media artworks.
The proposed project will provide a number of selected European and Canadian media artists,
coming from different cultural, technical and artistic backgrounds, with the opportunity to
collaborate with other European and Canadian artists in order to explore and create immersive
experiences through a process focusing on intercultural and interdisciplinary dialogue. The
project aims to produce via the creation of a series of immersive media artworks, new
aesthetics and technological paradigms.
This will be accomplished through interdisciplinary research and creation facilitated by:
-
a continuous collaboration between the partners;
workshops for local communities of artists and researchers;
COUNTRY REPORT CANADA| 33
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-
creative production and technical residencies for artists and researchers;
engaging wider audiences through public presentations and performances;
touring of a mobile architectural Dome structure equipped with specialised technology for
live dome visualisation for the creation and presentation of interactive multisensory
immersive environment.
Ultimately the accumulated work from the collaboration will be made manifest in one of the
most technologically advanced immersive theaters in the world, the newly inaugurated
Satosphere, in Montreal, Canada.
Live Transmission
The rise of video on the web is creating new forms of moving image. And television itself is
being challenged by the rise of second screens, by gaming and by participation. This project
dives into the heart of these changes to explore new models of creation, interaction and
dissemination. How can we develop cultural spaces that mix online and broadcast?
199,988.86 €
http://www.blasttheory.co.uk/
Live Transmission takes three European organisations – Blast Theory (United Kingdom – UK),
The Patching Zone (the Netherlands – NL) and Translocal (Finland – FI) – working at the leading
edge of digital media into a unique collaboration with Ontario College of Art And Design (OCAD
U). Together the partners will stretch the boundaries of mobile culture, live video transmission
and game play.
Through research and practical work Live Transmission will bring artists, researchers, developers
and educators together to test new models of participation and engagement. It will build a
bridge between the European sectors of mobile culture with OCAD U in Toronto where an
explosion of mobile development is under way. Both the European partners and the Canadian
partner will be enriched and challenged by the bid.
Workshops in Canada, UK, Finland and the Netherlands will share skills and develop new
approaches to mobile development. From these intense sessions an international development
phase will begin: a smartphone application that enables game play and live transmission will be
developed. This work will culminate in a residency at OCAD U where all the partners will create
a public demonstration to test the work done. A film will be made to disseminate the outcomes.
Throughout, the project will have a strong online presence and the live transmissions
themselves will all be online bridging audiences from all four countries in shared digital spaces.
This combination of theatre with games and live broadcasting, online with on the street, the
virtual with the embodied will create a rich space for international exchange and collaboration.
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Annex III: Bibliography and references
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
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‘Canada’, Compendium of Cultural Policies and Trends in Europe, ERICarts and Council of Europe.
Online. Available at:
http://www.culturalpolicies.net/.
Cliché, Danielle and Fisher, Rod, ‘Canada’, International Art Briefing 2, London: Arts Council of
England, 1997.
Evans, G. and Grant, B., Australia’s Foreign Relations in the World of the 1990s, Melbourne:
Melbourne University Press, 1991.
Henrikson, Alan K., ‘Niche Diplomacy in the World Public Arena: the Global “Corners” of Canada
and Norway’ in Melissen, Jan (ed.), The New Public Diplomacy. Soft Power in International
Relations, Basingstoke & New York: Palgrave Macmillan, 2005.
Hill, Kerry, A study prepared for the City of Vancouver, the City of Calgary, the City of Toronto,
the City of Ottawa and the Ville de Montréal, Hill Strategies, February 2012. Online. Available at:
http://www.creativecity.ca/database/files/library/Municipal_cultural_investments_5cities.pdf.
Hill Strategies, Mapping Artists and Cultural Workers in Canada’s Largest Cities, study for the
Cities of Vancouver, Calgary, Toronto and Montréal, 9 February 2010,. Online. Available at:
http://www.hillstrategies.com/content/mapping-artists-and-cultural-workerscanada%E2%80%99s-large-cities.
Mark, Simon, 2008, A comparative study of the cultural diplomacy of Canada, New Zealand and
India, unpublished PhD dissertation, The University of Auckland. Online. Available at:
https://researchspace.auckland.ac.nz/bitstream/handle/2292/2943/02whole.pdf?sequence=9.
Murray, Catherine and Hutton, Tom, ‘Vancouver: The Enigmatic Emerging Cultural Metropolis’,
in Anheier, Helmut and Isar, Yudhishthir Raj (eds), Cities, Cultural Policy and Governance, Los
Angeles: Cultures and Globalisation Series, SAGE, 2012.
UNCTAD, Creative Economy Report 2010, 2010. Online. Available at:
http://unctad.org/en/Docs/ditctab20103_en.pdf.
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